Art

Ieoh Ming Pei: La piràmide del Louvre

Fitxa tècnica

piramide_Pei

Alçada de la piràmide: 21,65 m
Longitud del costat de la base de la piràmide: 35,42 m
Angle d’inclinació: 51,7 graus
Vidres: 603 romboides de vidre de  3,00 m x 1,80 m. Cadascun dels rombes pesa 150 kgr., i 70 triangulars. Total: 673 vidres segons el Louvre, 698 segons l’oficina d’I.M. Pei
Estructura portant: 6000 bigues (entre 58 i 90 mm​​), 2100 nusos
Pes de l’estructura portant: 95 tones
Pes total de la piràmide: unes 180 tones

Cost: 11,43 milions euros

pati_piramide

pati_piramide2

Arquitecte: Ieoh Ming Pei[1] & Partners, Nueva York
Arquitectes executors locals: Georges Duval i Michael Macary
Direcció del projecte: Yann Weymouth, Washington
Planificació d’il·luminació: Claude i Danielle Engle, Washington
Estàtica: Sogelerg, Rungis, Serete, París
Contractista d’obres: Compagnie Francaise d’Entreprises Métalliques, París
Coordinació: Planitec, París

Inauguració : 30 de març del 1989

estructura_piramide   estructura_piramide2

Encàrrec 

Del 1981 al 1999, el palau del Louvre va ser objecte d’importants treballs de modernització, designats amb el nom de Grand Louvre i en el marc dels  «Grands Travaux» definits pel president de la República François Mitterrand. Aquests arranjaments que consistien a convertir la totalitat del palau en museu (fins el 1989 una part del palau també albergava el Ministeri d’Hisenda), es caracteritzen per la construcció de la piràmide de vidre (inaugurada el 30 març del 1989 ), situada al centre del Cour Napoléon, dissenyada per l’arquitecte xinès-americà Ieoh Ming Pei, i que condueix a una gran sala subterrània de recepció.

El “Gran Louvre”[2] és el nom donat a un dels projectes que formen part dels «Grans Treballs», definits pel president François Mitterrand, com també la nova Biblioteca Nacional de França, l’Òpera de la Bastilla i el gran arc de la Fraternitat (grande arche  de la Fraternité o de la Défense)[3].

És, de fet, la realització d’un vell projecte que consistia a convertir la totalitat del palau a la seva funció de museu, modernitzant i millorant la presentació de les seves col·leccions. L’obertura al públic es va dur a terme el 18 novembre del 1993.

Al començament del seu primer mandat, Mitterrand va demanar al seu ministre de Cultura, Jack Lang, que li proposés idees per a projectes de grans obres. Aquest li va  suggerir llavors al President de la República de tornar al museu del Louvre l’ala Richelieu  que llavors albergava el Ministeri d’Hisenda (que seria traslladat a un nou edifici a Bercy), un projecte ja considerat pel director dels Museus Nacionals Henri Verne el 1927. François Mitterrand va validar el projecte que esdevindrà una de les grans passions del seu primer mandat i va anunciar oficialment el seu inici el 24 de setembre del 1981. Aquesta decisió està acompanyada per una reorganització de les col·leccions i una transformació arquitectònica dels edificis. El projecte “Gran Louvre” s’assigna a Emile Biasini que selecciona l’arquitecte Ieoh Ming Pei  per a dirigir els treballs que s’estenen des del 1981 fins al 1999.

L’aspecte més controvertit del projecte fou la construcció d’una piràmide de vidre al centre del Cour Napoléon. Escèptic, l’alcalde de París, Jacques Chirac, proposa de fer una maqueta amb cables per tal que hom es pugui adonar de l’efecte que farà una piràmide. Ara serveix d’entrada al museu i permet il·luminar una immensa sala subterrània que dóna accés a totes les parts del museu. Jacques Chirac finalment es va convèncer després que fos acceptada la sol·licitud d’un aparcament subterrani per alliberar els molls del Sena dels cotxes turístics.

El 2 de novembre del 1983, l’Establiment Públic del Gran Louvre (EPGL) fou creat amb la finalitat de “dissenyar i liderar la reconversió del Domaine du Louvre et des Tuileries cara a convertir-lo en un conjunt cultural original de caràcter museològic, que serà denominat Gran Louvre, així com permetre la inserció d’aquest conjunt en el seu entorn “. Deu anys més tard, el Louvre, ampliat en gairebé 75.000 m², obre al públic l’ala Richelieu, donant al projecte d’IM Pei tota la seva dimensió i la seva lògica. La Piràmide del Louvre, al centre de gravetat de les col·leccions, assumeix el seu paper d’acolliment principal i de distribució dels circuits igualment repartits en les tres ales del Palau del Louvre: Richelieu, Sully, Denon.

Inaugurada l’any del bicentenari de la Revolució Francesa, ha esdevingut el símbol del Louvre. Des del punt de vista urbanístic, s’ha convertit en un dels punts finals de l’eix Est-Oest de París, la trajectòria del qual comença a l’arc de la Défense, passa per l’arc de Triomf, la plaça Concòrdia, els Camps Elisis i els jardins de les Tulleries per arribar, finalment, al Louvre.

Recordem que una de les més importants característiques dels dos septennis de François Mitterrand com a president de la República de França són les anomenades “grans obres” (“grands travaux”). Responia la seva realització a una doble necessitat: en primer lloc, representar propagandísticament, conforme la ideologia del partit socialista, la línia del partit i el seu involucrament amb la contemporaneïtat (símbol aquesta de les forces revolucionàries de l’avenir, per oposició a les forces reaccionàries de la dreta); en segon lloc, a nivell més diacrònic, o sigui, inscrit dins de la realitat contextual de la història immediata de França en aquells anys, el fer palesa la diferència entre els governs antecedents al socialista, que van succeir sense més transcendència a l’emblemàtic cap de guerra, general i president Charles de Gaulle, i les noves forces al poder a partir del 1981, sota el comandament del primer president d’esquerres des del 1958.

Dins d’aquest marc ideologitzat, Mitterrand es recolzarà en l’ús de les arts com a expressió de la joventut socialista en la figura central de Jack Lang, ministre de Cultura que esdevingué el més conegut i popular dels polítics de l’època, instaurant festes com la de la Música, i promovent moviments emergents com ara el rap.

No obstant això, el més rellevant i destacat per assentar el poder espiritual del que es definirà com els “anys Mitterand” tant a l’interior com a l’exterior del país, són les obres monumentals, les “grans obres”, entre les quals es destaca principalment la famosa Piràmide (1983-1988) de l’arquitecte Ieoh Ming Pei.

És significatiu que, històricament, el Gran Louvre obri la Voie Triomphale, que va de l’Arc del Carrusel i el Jardí de les Tuileries, passant per la Plaça de la Concòrdia, els Camps Elisis i el seu Arc de Triomf, fins a, precisament, a la actualitat, una altra de les grans obres del període de Mitterand: la Defensa i el seu propi gran arc, construït contemporàniament a la Piràmide (entre 1983 i 1989), per l’arquitecte danès Otto von Spreckelsen. A diferència de l’Arc de Triomf dels Camps Elisis, on estan sepultades, des del 1920, les restes mortals del Soldat Desconegut de la Primera Guerra Mundial, que és un Arc obert per cadascun dels seus quatre costats, l’Arc o Arca de Spreckelsen és un cub de 100 metres de costat, només obert pel seu centre. La construcció de l’Arc de Triomf va ser ordenada per Napoleó el 1806, en honor a les tropes franceses, i acabat sota el regnat de Louis-Philippe (1832-1836). L’Arc de Triomf, construït per l’arquitecte Chalgrin, mesura 49,546 m. x 44,820 m. S’ubica al centre de la Plaça de l’Estrella, perquè es troba simbòlicament al centre de les avingudes que són com les seves ramificacions, i els seus relleus representen les victòries napoleòniques. Al revés, l’Arc de la Defensa, al centre de la Plaça, obrint-se, d’una banda, a grans edificis de vidre i acer dedicats al comerç i les finances i, d’una altra, a un ampli centre comercial i una FNAC (Fédération Nacional d’Achat des Cadres: principal consorci de llibreries francès, creat el 1954 per als joves lectors i aficionats de discos de la classe mitjana), és un cub llis, sense relleus esculpits.

La Voie Triomphale, que va començar a ser edificada al segle XVII per l’arquitecte Le Nôtre com a via de carruatges per a la Cours de la Reine et la Grand Cours, se li posa el nom de Camps Elisis a inicis del segle XVIII, i s’amplia i acaba a l’Època de Napoleó III. És a dir que Mitterand fa més gran una via reial, per a marcar el seu propi poder, afirmant-lo des de dos pols centrals: el poder financer i comercial, que és el del capital de la Defensa, i el poder cultural i perenne, faraònic, de la Piràmide,  un camí que passa per la Plaça de la Concòrdia, o sigui, a la vora del Palau presidencial de l’Elisi, i desemboca en l’Arca de la Fraternitat del socialisme amb el lliure mercat.

Precedents 

La idea d’una piràmide es remunta al segle XVIII. Una piràmide al pati del Louvre va ser inicialment proposada per a les celebracions de la Revolució Francesa. També trobem aquesta idea en un llibre Mémoires sur deux grandes obligations à remplir par les Français, escrit per Bernard François Balssa i publicat el 1809. Una d’aquestes obligacions era aixecar, al pati del Louvre, una piràmide que seria un monument nacional de reconeixement a l’Emperador (Napoleó).

És possible que l’arquitecte IM Pei hagués tingut coneixement d’aquesta proposta quan va optar per la forma d’una piràmide. Ja havia utilitzat un grup de piràmides de vidre per a il·luminar amb llum natural un passadís subterrani que connecta la Galeria Nacional de Washington amb el seu afegit modern i, anteriorment, havia conceptualitzat una piràmide de vidre per a un disseny per a la Biblioteca Kennedy a Cambridge, Massachussets.

piramides_Washington

IM Pei: piràmides per il·luminar el passadís entre els edificis antic i nou de la National Gallery de Washington

biblioteca_Kennedy

IM Pei: Biblioteca Kennedy, Boston. Massachusetts. 1977-79

Funció

Està dissenyada per a servir a un propòsit molt útil, a saber, el de proporcionar serveis essencials als milers de visitants (10 milions el 2012)  i fer-ho amb la menor invasió de la integritat de l’arquitectura original.

La Piràmide realment no eclipsa l’edifici original. De fet, en certa manera inesperada i  subtil trenca la monotonia de l’arquitectura original, imponent en la seva massificació, però potser una mica monòtona en la seva repetició dels mateixos elements arquitectònics. La piràmide ha permès crear el recinte necessari per a gestionar milers de visitants en un entorn controlat.

Fa possible la creació del molt necessari clima espacial interior que es requereix per a la prestació dels serveis essencials als visitants, com ara centres d’informació, centres d’aprenentatge, estands de venda d’entrades, centres d’audioguies, cafeteries, lavabos, sala d’estar i, sobretot, encaminar els moviments dels visitants cap a les tres grans ales del museu: Richelieu, Sully i Denon. Guiar el moviment transversal dels visitants entre les tres ales és summament important ja que cal recordar que el Louvre és el museu d’art més visitat del món i atrau un gran nombre de visitants en diversos idiomes d’arreu del món, de manera que guiar-los amb la senyalització adequada és de summa importància per a evitar confusions.

Com va dir l’historiador del disseny Mark Pimlott, “el pla d’IM Pei distribueix eficaçment a les persones de l’esplanada central cap els innombrables destins dins d’aquesta vasta xarxa subterrània…  el marc arquitectònic evoca, a escala gegantina, un atri d’una antiga vila de Pompeia; el tractament de l’obertura superior, amb la seva traceria de fosa i cables, evoca els atris d’edificis d’oficines corporatives; el moviment atrafegat de les persones en totes direccions suggereix les esplanades de les estacions terminals de ferrocarril o dels aeroports internacionals”.

Diversos altres museus han repetit aquest concepte, especialment el Museu de Ciència i Indústria de Chicago.

La piràmide és transparent. El vidre incolor permet la visió al seu través i no obstrueix la visió a través de la piràmide. Per aquesta raó sembla que sura lleugerament en el centre dels edificis originals del Louvre, sense envair-los ni restar-ne res, però afegint-hi un punt focal d’interès. La piràmide i l’espai subterrani que cobreix han transformat el Louvre d’un confús laberint de galeries d’exposició en un dels museus més moderns del món. 

Escala 

L’escala amb barana de vidre i passamans d’acer inoxidable, que sembla surar lliurement en l’espai, s’assembla a l’hèlix d’un vaixell. Per ella el visitant baixa uns 9 metres fins a la sala de recepció del Grand Louvre, situada sota del Cour Napoléon, o sigui, el “Pati Napoleó”. Diversos serveis instal·lats en aquest lloc, com el d’informacions, restaurants, guarda-roba, auditori i un local comercial, ofereixen al visitant del Louvre la possibilitat d’una preparació òptima per al recorregut del museu. 

La llum 

Tant la natural com l’artificial, va exercir un paper importantíssim dins de la planificació de la piràmide. Es pretenia que el visitant no tingués la sensació de trobar-se dins d’una obra subterrània. La solució luminotècnica per a aquest problema va consistir a il·luminar l’estructura portant situada sota la superfície de vidre. Amb l’ajuda de les fonts de llum utilitzades, primordialment aquesta estructura portant d’acer havia de presentar una aparença brillant; la quantitat de llum, en canvi, seria només un aspecte secundari. Aquesta exigència va imposar la necessitat d’una disposició lineal de les llums puntuals. Amb aquesta finalitat es van utilitzar projectors orientables, amb llums reflectors halògens de 100 W i feix intensiu, que es van situar al llarg de la base de la piràmide. 

piramide_interior_nit

Controvèrsia 

La construcció de la piràmide fou motiu d’un apassionat debat. Moltes persones troben que aquest edifici futurista i d’estil internacional que alguns qualifiquen de «passe-partout» està fora del context clàssic del Louvre, i consideren que la piràmide impedeix de veure l’edifici original en la seva totalitat des del Cour Napoléon o de l’Arc de Triomf del Carrousel.

Quan el projecte va ser concebut i fet públic després de la declaració de Pei a la Comissió Nacional de Monuments Històrics el gener de 1984, es va haver d’enfrontar a les protestes dels cercles conservadors, i també a una part de la dreta que va portar el tema al terreny polític, la premsa va posar un renom a François Mitterrand: “Mitteramsès” o “Tontonkhamon”. No obstant això, la piràmide no talla la perspectiva de l’eix històric, ja que aquest eix no s’inicia en el Cour Carrée, sinó a l’estàtua eqüestre de Lluís XIV, situada al Cour Napoléon. L’eix del Palais du Louvre està desplaçat 6,3 º respecte a l’eix del Jardí de les Tulleries i dels Camps Elisis. 

planol_general

La piràmide invertida

La piràmide principal no està sola, sinó que és envoltada per tres rèpliques molt més petites i una cinquena piràmide, invertida, construïda sota el Carrousel del Louvre , que funciona com a claraboia d’un centre comercial subterrani i que està construïda amb la mateixa lògica constructiva però amb només 7 triangles a la base de cada cara, i es compon de 84 rombes i 28 triangles.

Aquesta piràmide invertida no pot estar en contacte directe amb l’exterior perquè l’aigua s’hi acumularia; per això està coberta per una superfície vidriada similar, oculta al nivell del terra natural pel jardinet del centre de la plaça Carrusel.
Inaugurada el 1989, la piràmide invertida de l’arquitecte IM Pei pesa 180 tones i fa 16 metres d’ample per 7 metres d’alt. Contrasta amb la gran piràmide que és clarament visible i marca l’entrada al museu del Louvre, mentre que la piràmide invertida no és visible des de l’exterior si s’està a nivell del terra. No està només per sota del nivell del sòl, sinó sinó que el centre de la plaça del Carrousel on es troba la piràmide invertida és inaccessible i tancada visualment per les plantes dels parterres.

piramide invertida

Llegendes urbanes i Codi da Vinci 

El llibre de Dominique Stezepfandt, François Mitterrand, Gran Arquitecte de l’Univers[4] declara que, segons els seus plans, “la indicació constant de xifres falses (i per alguns rigorosament absurdes) i del 666 està destinat a advertir als iniciats: la piràmide està dedicada a una potència que l’Apocalipsi de sant Joan designa com la bèstia”, i, més endavant, que “tota l’estructura de la piràmide és en realitat un joc aritmològic basat, per suma, multiplicació o representació triangular, en el número 6, número de la creació, atribuït aquí, molt lògicament, al príncep d’aquest món.”

La llegenda dels 666 panells es va originar en la dècada del 1980, quan el fullet oficial publicat durant la construcció, efectivament cita aquest número (dues vegades, encara que poques pàgines abans, el nombre total de panells que dóna és de 673). El número 666 va ser llavors citat en diversos diaris. Tanmateix, la direcció del Museu del Louvre, afirma que la piràmide acabada conté 673 plaques de vidre (603 rombes i 70 triangles). David A. Shugarts[5], per la seva banda, compta 689 peces de vidre i diu que ha obtingut la xifra de les oficines d’IM Pei.

Si un sap una mica de matemàtiques, és fàcil fer un recompte dels panells: cadascun dels tres costats de la piràmide, sense una entrada, té 18 panells triangulars i 17 files de rombes disposats en un triangle, per tant donen

17 · (17 + 1)
______________   =  153
2

panells ròmbics  (+ 18 = 171 panells en total). El costat amb l’entrada, però, té 11 panells menys (9 rombes i 2 triangulars), de manera que tota la piràmide consta de 4 x 153 – 9 = 603 rombes i 4 x 18 – 2 = 70 triangles, és a dir, 673 panells en total.

El mite va ressorgir el 2003, quan Dan Brown el va incorporar al seu best-seller El Codi Da Vinci, en el qual el protagonista, especialista en simbologia, afirma que “aquesta piràmide, sota la demanda explícita del president Mitterrand, ha estat construïda exactament amb 666 panells de vidre – una estranya sol·licitud que ha estat sempre un tema candent entre els amants de la conspiració que afirmen que 666 era el nombre de Satanàs”. (capítol 4) No obstant això, David A. Shugarts afirma que segons un portaveu de les oficines d’IM Pei, el president francès no va mai especificar el nombre de panells per a ser utilitzats en la piràmide.

En el Codi Da Vinci de Dan Brown la piràmide principal té 666 finestres (el nombre de la bèstia, associat a Satanàs). De fet,  la piràmide no té 666 finestres sinó 603 vidres romboides i 70 triangulars que fan un total de 673. En el Codi la piràmide va ser comissionada pel president francès François Mitterand, que es va obsessionar amb temes egípcis i va ordenar explícitament les 666 finestres a la piràmide. De fet la piràmide no va ser ordenada específicament per Mitterand – ell va emprar simplement a IM Pei per a dissenyar una restauració major. La piràmide sempre va ser idea de Pei, així que el president no va especificar ni la forma ni la quantitat d’elements.

En el Codi la piràmide invertida pot ser un símbol del calze. En la realitat és simplement una claraboia per donar llum al centre comercial, per tant, és molt poc probable que sigui un símbol de calze donat el que sabem sobre els seus altres treballs com el de la Galeria Nacional de Washington i el de la Biblioteca Kennedy a Cambridge, Massachusetts.

En el Codi, Maria Magdalena podria estar enterrada en una piràmide de pedra submergida sota la piràmide invertida. El concepte funciona molt bé per a l’argument de la novel·la, però no hi ha piràmide submergida de pedra. En els estudis arqueològics de les excavacions de fonaments per a la nova estructura, els quals van ser gegantins per a poder edificar els fonaments de la mida necessàriai per a suportar l’estructura, no va aparèixer cap troballa amb aquest tema. La petita piràmide de pedra que hi ha sota la piràmide invertida està col·locada sobre el pis i es pot moure per a netejar el sòl.

piramide_interior_dia

Bibliografia 

Philip Jodidio, I. M. Pei, Yann Weymouth (2009). I.M. Pei: la pyramide du Louvre. Prestel. 95 pàgs.

Frederic P. Miller, Agnes F. Vandome, John Mcbrewster (2010). Pyramide Du Louvre. Alphascript Publishing. 76 pàgs.

Jérôme Coignard, Joël Girard, Christophe Lagrange (1990). El Gran Louvre y la Pirámide. Beaux Arts Magazine. 34 pàgs.

Franco Fresoli, Antonio Glessi, Andrea Moreschini (1996). El Gran Louvre. Acta Scala.

Suner, Bruno (1998). Ieoh-Ming-Pei. Tres Cantos. Akal. (Col. Arquitectura). 160 pàgs.

Piràmide del Louvre   http://www.youtube.com/watch?v=Hfsq6Wof_zw

Joan Campàs   Aura digital 
Estudis d’Arts i Humanitats, UOC


[1] Ieoh Ming Pei (I.M. Pei) a http://en.wikipedia.org/wiki/I._M._Pei

Va estudiar al MIT (Institut Tecnològic de Massachussets) i entre el 1945 i el 1948 va donar classes a Harvard com a professor adjunt, sota la tutela de Marcel Breuer i Walter Gropius. Per això és considerat com un dels successors americans dels grans mestres de l‘arquitectura europea. El 1983 va rebre el premi Pritzker, el de major prestigi internacional en arquitectura.

[2] Christian Dardennes (1993). Le Grand Louvre, Dessins de chantier 1991-1993. Paris. Société d’Éditions Régionales/Cidev, 4e trimestre. 96 p.

[3] Diferents presidents, Georges Pompidou (projecte d’Ieoh Ming Pei), i Valéry Giscard d’Estaing (projecte de Jean Willerval) van tenir per objectiu d’identificar l’ Eix històric amb una obra arquitectural monumental.

Els treballs van començar realment el 1983, després del concurs Tête Défense, sota el govern del President François Mitterrand per allargar l’Eix històric de París que va del Museu del Louvre passant per l’ obelisc de la place de la Concorde i l’ arc de triomf. Aquest concurs reunia 484 projectes anònims arribats del món sencer. Finalment, és el projecte innovador de l’arquitecte danès Johann Otto von Spreckelsen el que va ser seleccionat.

[4] Dominique Setzepfandt (1998). François Mitterrand grand architecte de l’univers : La symbolique maçonnique des grands travaux de François Mitterrand. París. Faits et documents. 191 pàgs.

[5] Dan Burstein (2004).Les secrets du code Da Vinci. París. City. Pàg. 259

Viatge virtual al Louvre

1. Una visita al museu del Louvre
3. Leonardo da Vinci: La Gioconda
4. L’hermafrodita adormit del Louvre
5. La funció de l’androgínia en algunes pintures el Louvre

6. Jacques-Louis David: El jurament dels Horacis
7. Jean-Germain Drouais: L’atleta agonitzant
8. David: Els líctors retornant a Brutus els cossos dels seus fills
9. Jean-Germain Drouais: Màrius presoner a Minturnes
10. Girodet: El somni d’Endimió
11. David i la mort revolucionària: Lepeletier, Marat, Bara
12. Imatges de la reacció thermidoriana: les Sabines de David
13. Imatges del Consolat: Madame Récamier de David i Els ambaixadors d’Agamèmnon d’Ingres

14. El classicisme sota Napoleó: Gros, Girodet, Prud’hon, Ingres, David
15. Cap el romanticisme: Ingres, Gros, Prud’hon, Girodet, Guérin, Géricault, David
16. Théodore Géricault: El rai de la Medusa
17. Eugène Delacroix: La llibertat guiant el poble

Dossier: Del Rococó al Romanticisme a través del Louvre. Materials de treball

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  53. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  54. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  55. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  56. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  57. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  58. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  59. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  60. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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  65. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  66. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  67. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  68. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  69. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  70. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  71. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  72. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

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  78. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

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  80. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  81. Sorry for the huge review, but I’m really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it’s the right choice for you.

  82. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  83. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  84. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  85. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  86. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  87. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  88. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  89. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  90. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  91. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  92. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

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  95. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  96. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  97. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  98. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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